There are times when we at Animetics like to slow down, get serious, and look at the finer points of what defines excellence. This, much like our seasonal anime previews, is not one of those features. There’s no objective way of determining who the best anime character actually is, and we don’t claim to be any more accurate than a series of purely random coin flips. That said, welcome to Charactology 2012, the Animetics bracketology-inspired character polling feature.
WataMote doesn’t really have a consistent sense of episode structure in a way that some comedies do. Contrary to last week’s, where the rain and the cold bits split the episode, this week’s show ran through a series of 3 skits. The underwear one invoked some legitimate pity, and had a fairly touching conclusion.* However, the others (the nightmare and the molestation one) were based around karmic payback for Tomoko’s stupidity. All of which was accompanied by the series’ typical visual panache and some nigh-flawless transitions.
You know the old saying; “Stats don’t lie, except when they do.” Using stats to argue point son anime is kind of tough, as any individual figure, be it Japanese sales, TV Ratings, merchandising fees paid, or online ranking site figures, only reveals a small part of the overall picture. Since I compiled a rather large database containing multiple stat lines for 95% of the anime to air over the past 8 years, I might as well use it to numerically classify true-blue-chippers.
Allow me to introduce a very exclusive society, the Hit-L-Double-Double (HLDD) Club. It’s the list of anime that have accomplished 4 feats, 3 of which are very difficult individually. Specifically, it’s the list of anime that have sold 10,000+ units per volume in Japan (megahit sales territory), been licensed overseas (international sales viability), and have myanimelist rankings and popularities in the top 100/double digits (esteem and popularity overseas).
This is a list of the unequivocal successes, the things that have amassed not only megahit status in Japan, but also a significant English-speaking fanbase and critical praise. These are numerically irrefutable successes, at least in theory. You could call it the “talk to anyone” list, because you could talk to anyone in the industry and they would agree with you that it was a rock-solid commodity. From 2005-2012, anyway (that’s the era I have all the data for). All the members from that period are listed below, along with their statlines. Sequels are excluded to keep it tidy, and because they’re rarely much different from s1 stats-wise.
This list is not meant to be very surprising. It’s just a slightly different way of thinking about blue-chip anime.
I was worried about whether this show was going to fall off a cliff by resorting to cheap boob humor and forgetting to be actually funny. Fortunately, Muromi-san showed itself to be made of sterner stuff.
One of the many controversial features of sites like myanimelist and aniDB that allow users to list their anime is their inclusion of toplists. What’s the proper way to weight scores? Should sequels (which have an intrinsic advantage in 10-point averages) be counted normally? Is there a point to having one at all when it invites as much vitriol as it sometimes does?
Though actual discussions over topics like these tend to descend into unglorified hoopla fairly quickly, these toplists and rankings can be very interesting subjects for study. Especially if you dig a layer below the top and start to look at what they really measure.
If you know anything at all about manga, you’ve probably heard the name Weekly Shonen Jump before. Armed to the teeth with megahits like One Piece, Naruto, Bleach, and Toriko, it stands undisputed atop the manga industry. But did you ever wonder how that dominance came to be, or why it’s been largely unchallenged for upwards of 20 years? Here’s a hint: it’s no accident.